Armstrong, Keith, Webster, Guy, & Vincent, Charlotte (2014) Shifting intimacies. soundsRite, 6.
Our world is literally and figuratively turning to ‘dust’. This work acknowledges decay and renewal and the transitional, cyclical natures of interrelated ecologies. It also suggests advanced levels of degradation potentially beyond reparation.
Dust exists both on and beneath the border of our unaided vision. Dust particles are predominantly forms of disintegrating solids that often become the substance or catalyst of future forms. Like many tiny forms, dust is an often unnoticed residue with ‘planet-size consequences’. (Hanna Holmes 2001)
The image depicts an ethereal, backlit body, continually circling and morphing, apparently floating, suggesting endless cycles of birth, life and death and inviting differing states of meditation, exploration, stillness and play.
This never ending video work is taken from a large-scale interactive/media artwork created during a six-month research residency in England at the Institute of Contemporary Art London and at Vincent Dance Theatre Sheffield in 2006. It was originally presented on a raised floor screen made of pure white sand at the ICA in London (see). The project involved developing new interaction, engagement and image making strategies for media arts practice, drawing on the application of both kinetic and proprioceptive dance/performance knowledges. The work was further informed by ecological network theory that assesses the systemic implications of private and public actions within bounded systems. The creative methodology was primarily practice-led which fomented the particular qualities of imagery, generated through cross-fertilising embodied knowledge of Dance and Media Arts. This was achieved through extensive workshopping undertaken in theatres, working ‘on the floor’ live, with dancers, props, sound and projection.
And eventually of course, all this dust must settle. (Holmes 2001, from Dust Jacket)
Holmes, H. 2001, The Secret Life of Dust: From the Cosmos to the Kitchen Counter, the Big Consequences of Little Things, p.3
Impact and interest:
Citation counts are sourced monthly from and citation databases.
These databases contain citations from different subsets of available publications and different time periods and thus the citation count from each is usually different. Some works are not in either database and no count is displayed. Scopus includes citations from articles published in 1996 onwards, and Web of Science® generally from 1980 onwards.
Citations counts from theindexing service can be viewed at the linked Google Scholar™ search.
Full-text downloads displays the total number of times this work’s files (e.g., a PDF) have been downloaded from QUT ePrints as well as the number of downloads in the previous 365 days. The count includes downloads for all files if a work has more than one.
|Item Type:||Journal Article|
|Additional Information:||Single Channel Video|
|Keywords:||media art, ecosophy, video art, dance on film, performance, art and ecology|
|Subjects:||Australian and New Zealand Standard Research Classification > STUDIES IN CREATIVE ARTS AND WRITING (190000)
Australian and New Zealand Standard Research Classification > STUDIES IN CREATIVE ARTS AND WRITING (190000) > FILM TELEVISION AND DIGITAL MEDIA (190200)
|Divisions:||Past > Disciplines > Art & Design
Current > QUT Faculties and Divisions > Creative Industries Faculty
|Copyright Owner:||Copyright 2014 The authors|
|Copyright Statement:||This work is licensed under a Creative Commons Attribution-No Derivative Works 3.0 Unported License.|
|Deposited On:||09 Mar 2015 23:36|
|Last Modified:||10 Mar 2015 21:22|
Repository Staff Only: item control page